Samuel Coleridge - Specimens of the Table Talk of Samuel Taylor Coleridge

Gen. xxvi. 6.

Gen. xxxiv.

Mr. Coleridge made these remarks upon my quoting Selden's well-known saying (Table Talk), "that transubstantiation was nothing but rhetoric turned into logic."—ED.

See this instance cited, and the whole history and moral policy of the common system of judicial swearing examined with clearness and good feeling, in Mr. Tyler's late work on Oaths.—ED.

In The Frogs.—ED.

Chap. xix. 25, 26.

Mr. Coleridge, like so many of the elder divines of the Christian church, had an affectionate reverence for the moral and evangelical portion of the Book of Psalms. He told me that, after having studied every page of the Bible with the deepest attention, he had found no other part of Scripture come home so closely to his inmost yearnings and necessities. During many of his latter years he used to read ten or twelve verses every evening, ascertaining (for his knowledge of Hebrew was enough for that) the exact visual image or first radical meaning of every noun substantive; and he repeatedly expressed to me his surprise and pleasure at finding that in nine cases out of ten the bare primary sense, if literally rendered, threw great additional light on the text. He was not disposed to allow the prophetic or allusive character so largely as is done by Horne and others; but he acknowledged it in some instances in the fullest manner. In particular, he rejected the local and temporary reference which has been given to the 110th Psalm, and declared his belief in its deep mystical import with regard to the Messiah. Mr. C. once gave me the following note upon the 22d Psalm written by him, I believe, many years previously, but which, he said, he approved at that time. It will find as appropriate a niche here as any where else:—

"I am much delighted and instructed by the hypothesis, which I think probable, that our Lord in repeating Eli, Eli, lama sabacthani , really recited the whole or a large part of the 22d Psalm. It is impossible to read that psalm without the liveliest feelings of love, gratitude, and sympathy. It is, indeed, a wonderful prophecy, whatever might or might not have been David's notion when he composed it. Whether Christ did audibly repeat the whole or not, it is certain. I think, that he did it mentally, and said aloud what was sufficient to enable his followers to do the same. Even at this day to repeat in the same manner but the first line of a common hymn would be understood as a reference to the whole. Above all, I am thankful for the thought which suggested itself to my mind, whilst I was reading this beautiful psalm, namely, that we should not exclusively think of Christ as the Logos united to human nature, but likewise as a perfect man united to the Logos. This distinction is most important in order to conceive, much more, appropriately to feel , the conduct and exertions of Jesus."—ED.

"There he found, at the foot of a great walnut-tree, a fountain of a very clear running water, and alighting, tied his horse to a branch of a tree, and sitting clown by the fountain, took some biscuits and dates out of his portmanteau, and, as he ate his dates, threw the shells about on both sides of him. When he had done eating, being a good Mussulman, he washed his hands, his face, and his feet, and said his prayers. He had not made an end, but was still on his knees, when he saw a genie appear, all white with age, and of a monstrous bulk; who, advancing towards him with a cimetar in his hand, spoke to him in a terrible voice thus:—'Rise up, that I may kill thee with this cimetar as you have killed my son!' and accompanied these words with a frightful cry. The merchant being as much frightened at the hideous shape of the monster as at these threatening words, answered him trembling:—'Alas! my good lord, of what crime can I be guilty towards you that you should take away my life?'—'I will,' replies the genie, 'kill thee, as thou hast killed my son!'—'O heaven!' says the merchant, 'how should I kill your son? I did not know him, nor ever saw him.'—'Did not you sit down when you came hither?' replies the genie. 'Did not you take dates out of your portmanteau, and, as you ate them, did not you throw the shells about on both sides?'—'I did all that you say,' answers the merchant, 'I cannot deny it.'—'If it be so,' replied the genie, 'I tell thee that thou hast killed my son; and the way was thus: when you threw the nutshells about, my son was passing by, and you threw one of them into his eye, which killed him, therefore I must kill thee.'—'Ah! my good lord, pardon me!' cried the merchant.—'No pardon,' answers the genie, 'no mercy! Is it not just to kill him that has killed another?'—'I agree to it,' says the merchant, 'but certainly I never killed your son, and if I have, it was unknown to me, and I did it innocently; therefore I beg you to pardon me, and suffer me to live.'—'No, no,' says the genie, persisting in his resolution, 'I must kill thee, since thou hast killed my son;' and then taking the merchant by the arm, threw him with his face upon the ground, and lifted up his cimetar to cut off his head!"—The Merchant and the Genie. First night.—Ed.

Mr. Coleridge's admiration of this little romance was unbounded. He read it several times in German, and once in the English translation, made in America, I believe; the latter he thought inadequately done. Mr. C. said that there was something in Undine even beyond Scott,—that Scott's best characters and conceptions were composed ; by which I understood him to mean that Baillie Nicol Jarvie, for example, was made up of old particulars, and received its individuality from the author's power of fusion, being in the result an admirable product, as Corinthian brass was said to be the conflux of the spoils of a city. But Undine, he said, was one and single in projection, and had presented to his imagination, what Scott had never done, an absolutely new idea—ED.

Mr. Coleridge said this, after looking at the engravings of Mr. Martin's two pictures of the Valley of the Shadow of Death, and the Celestial City, published in the beautiful edition of the Pilgrim's Progress by Messrs. Murray and Major, in 1830. I wish Mr. Martin could have heard the poet's lecture: he would have been flattered, and at the same time, I believe, instructed; for in the philosophy of painting Coleridge was a master.—ED.

P. 350., by S. Mosses from a design by Mr. W. Harvey. "When they came to the place where he was, they found him with one Feeble-mind in his hand, whom his servants had brought unto him, having taken him in the way. Now the giant was rifling him, with a purpose, after that, to pick his bones; for he was of the nature of flesh eaters."—ED.

I find written on a blank leaf of my copy of this edition of the P.'s P. the following note by Mr. C.:—"I know of no book, the Bible excepted as above all comparison, which I, according to my judgment and experience, could so safely recommend as teaching and enforcing the whole saving truth according to the mind that was in Christ Jesus, as the Pilgrim's Progress. It is, in my conviction, incomparably the best summa theologiae evangalicae ever produced by a writer not miraculously inspired." June 14. 1830.—ED.

"I will add, at the risk of appearing to dwell too long on religious topics, that on this my first introduction to Coleridge he reverted with strong compunction to a sentiment which he had expressed in earlier days upon prayer. In one of his youthful poems, speaking of God, he had said—